Political and Literary essays, 1908-1913
by Evelyn Baring
Previous Part     1  2  3  4  5  6  7
Home - Random Browse

In a very interesting essay published in Lady Blennerhassett's recent work, entitled Sidelights, which has been admirably translated into English by Mrs. Guelcher, she deals with the subject now under discussion. No one could be more fitted to cope with the task. Lady Blennerhassett's previous contributions to literature, her encyclopaedic knowledge of historical facts, and her thorough grasp of the main political, religious, and economic considerations which moved the hearts and influenced the actions of men during the revolutionary convulsion give her a claim, which none will dare to dispute, to speak with authority on this subject. Those who have heretofore looked for guidance to Taine will, therefore, rejoice to note that she is able to vindicate his reputation as an historian. "The six volumes of the Origines," she says, "are, like other human works, not free from errors and exaggerations, but in all essentials their author has proved himself right, and his singular merit remains."

As the most suitable illustration of Taine's historical methods Lady Blennerhassett selects his study of Napoleon. That, she thinks, is "the severest test of the author's skill." Taine did not, like Fournier and others, attempt to write a history of Napoleonic facts. The strategical and tactical genius which enabled Napoleon to sweep across Europe and to crush Austria and Prussia on the fields of Austerlitz and Jena had no attraction for him. He wrote a history of ideas. True to his own psychological habit of thought, he endeavoured to "reconstruct the figure of Napoleon on psychological and physiological lines." The justification of this method is to be found in the fact, the truth of which cannot be gainsaid, that a right estimate of the character of Napoleon affords one of the principal keys to the true comprehension of European history for a period of some twenty stirring years. History, Lord Acton said, "is often made by energetic men steadfastly following ideas, mostly wrong, that determine events." Napoleon is a case in point. "The man in Napoleon explains his work." But what were the ideas of this remarkable man, and were those ideas "mostly wrong"?

His main idea was certainly to satisfy his personal ambition. "Ma maitresse," he said, "c'est le pouvoir," and in 1811, when, although he knew it not, his star was about to wane, he said to the Bavarian General Wrede, "In three years I shall be master of the universe." He was not deterred by any love of country, for it should never be forgotten that, as Lady Blennerhassett says, "this French Caesar was not a Frenchman." Whatever patriotic feelings moved in his breast were not French but Corsican. He never even thoroughly mastered the French language, and his mother spoke not only bad French, but bad Italian. Her natural language, Masson tells us, was the Corsican patois. In order to gratify his ambition, all considerations based on morality were cast to the winds. "I am not like any other man," he told Madame de Remusat; "the laws of morality and decorum do not apply to me." Acting on this principle he did not hesitate to plunge the world into a series of wars. Saevit toto Mars impius orbe.

The other fundamental idea which dominated the whole of Napoleon's conduct was based on Voltaire's cynical dictum, "Quand les hommes s'attroupent, leurs oreilles s'allongent." He was a total disbeliever in the wisdom or intelligence of corporate bodies. Therefore, as he told Sir Henry Keating at St. Helena, "It is necessary always to talk of liberty, equality, justice, and disinterestedness, and never to grant any liberty whatever." Low as was his opinion of human intelligence, his estimate of human honesty was still lower. Mr. Lecky, speaking of Napoleon's relations with Madame de Stael, says: "A perfectly honest man was the only kind of man he could never understand. Such a man perplexed and baffled his calculations, acting on them as the sign of the cross acts on the machinations of a demon." In his callow youth he had coquetted with ultra-Liberal ideas. He had even written an essay in which he expressed warm admiration for Algernon Sidney as an "enemy to monarchies, princes, and nobles," and added that "there are few kings who have not deserved to be dethroned." These ideas soon vanished. He became the incarnation of ruthless but highly intelligent despotism. The reputation acquired at Marengo gave him the authority which was necessary as a preliminary to decisive action, and albeit, if all accounts are true, he lost his head at the most important crisis of his career and owed success to the firmness of that Sieyes whom he scornfully called an "ideologue" and a "faiseur de constitutions," nevertheless on the 18th Brumaire he was able to make captive a tired nation which pined for peace, and little recked that it was handing over its destinies to the most ardent devotee of the god of war that the world has ever known.

Once seated firmly in his saddle Napoleon proceeded to centralise the whole French administration, and to establish a regime as despotic as that of any of the hereditary monarchs who had preceded him. But it was a despotism of a very different type from theirs. Theirs was stupid, and excited the jealousy and hatred of almost every class. His was intelligent and appealed both to the imagination and to the material interests of every individual Frenchman. Theirs was based on privilege; his on absolute equality. "About Napoleon's throne," Lady Blennerhassett says, "were gathered Girondists and Jacobins, Royalists and Thermidorians, Plebeians and the one-time Knights of the Holy Ghost, Roman Catholics and Voltaireans. Kitchen lads became marshals; Drouet, the postmaster of Varennes, became Under-Secretary of State; Fouche, the torturer and wholesale murderer, a duke; the Suabian candidate for the Lutheran Ministry, Reinhard, was appointed an Imperial Ambassador; Murat, son of an innkeeper, a king."

Death, it has been truly said, is the real measure of greatness. What now remains of the stupendous fabric erected by Napoleon? "Of the work of the Conqueror," Lady Blennerhassett says, "not one stone remains upon another." As regards the internal reconstruction of France, the case is very different. All inquirers are agreed that Napoleon's work endures. Taine said that "the machinery of the year VIII." still remains. Mr. Fisher, in his work on Napoleonic Statesmanship, says that Napoleon "created a bureaucracy more competent, active, and enlightened than any which Europe had seen." Mr. Bodley bears similar testimony. "The whole centralised administration of France, which, in its stability, has survived every political crisis, was the creation of Napoleon and the keystone of his fabric."

Napoleon's administrative creations may, indeed, be criticised from many points of view. Notably, it may be said that, if he did not initiate, he stimulated that excessive "fonctionnarisme" which is often regarded as the main defect of the French system. But his creations were adapted to the special character and genius of the nation over which he ruled. His main title-deed to enduring fame is that, for good or evil, he constructed an edifice which, in its main features, has lasted to this day, which shows no signs of decay, and which has exercised a predominant influence on the administration and judicial systems of neighbouring countries. Neither the system itself nor the history of its creation can be thoroughly understood without a correct appreciation of the character and political creed of its founder. It is this consideration which affords an ample justification of the special method adopted by Taine in dealing with the history of the Napoleonic period.

Nothing illustrates Napoleon's character more clearly than the numerous ana which may be culled from the pages of Madame de Remusat, Masson, Beugnot, Roederer, and others. Of these, some are reproduced by Lady Blennerhassett. The writer of the present article was informed on good authority of the following Napoleonic anecdote. It is related that Napoleon ordered from Breguet, the famous Paris watchmaker, a watch for his brother Joseph, who was at the time King of Spain. The back was of blue enamel decorated with the letter J in diamonds. In 1813 Napoleon was present at a military parade when a messenger arrived bearing a brief despatch, in which it was stated that the French army had been completely defeated at Vittoria. It was manifest that Spain was lost. Always severely practical, all that Napoleon did, after glancing at the despatch, was to turn to his secretary and say, "Write to Breguet and tell him that I shall not want that watch." It is believed that the watch was eventually bought by the Duke of Wellington.[108]

[Footnote 107: Sidelights. By Lady Blennerhassett. Translated by Edith Guelcher. London: Constable & Co. 7s. 6d.]

[Footnote 108: My informant in this matter was the late General Sir Arthur Ellis. Since the above was written, the Duke of Wellington has informed me that there is at Apsley House a watch, not made by Breguet but by another Paris watchmaker, on which is inscribed, "Ordered by Napoleon for his brother Joseph." The cover is ornamented not with a diamond J, but with a map of the Peninsula. Inside is the portrait of a lady. I do not doubt that this is the watch to which Sir Arthur Ellis alluded.]



"The Spectator," September 13, 1913

All historians are agreed that contemporary ballads and broadsheets constitute a priceless storehouse from which to draw a picture of the society existing at the period whose history they seek to relate. Some of those which have survived to become generally known to later ages show such poverty of imagination and such total absence of literary merit as to evoke the surprise of posterity at the ephemeral success which they unquestionably achieved. An instance in point is the celebrated poem "Lillibullero," or, as it is sometimes written, "Lilli Burlero." Here is the final stanza of the pitiful doggerel with which Wharton boasted that he had "sung a king out of three kingdoms":

There was an old prophecy found in a bog: Ireland shall be ruled by an ass and a dog; And now this prophecy is come to pass, For Talbot's the dog, and James is the ass. Lillibullero, Bullen-a-la.

Doggerel as this was, it survived the special occasion for which it was written. When Queen Anne's reign was well advanced balladmongers were singing:

So God bless the Queen and the House of Hanover, And never may Pope or Pretender come over. Lillibullero, Bullen-a-la.

If the song is still remembered by other than historical students, it is probably more because Uncle Toby, when he was hard pressed in argument, "had accustomed himself, in such attacks, to whistle Lillibullero," than for any other reason.

But whether it be doggerel or dignified verse, popular poetry almost invariably possesses one great merit. When we read the outpourings of the seventeenth and eighteenth century poets to the innumerable Julias, Sacharissas, and Celias whom they celebrated in verse, we cannot but feel that we are often in contact with a display of spurious passion which is the outcome of the head rather than of the heart. Thus Johnson tells us that Prior's Chloe "was probably sometimes ideal, but the woman with whom he cohabited was a despicable drab of the lowest species." The case of popular and patriotic poetry is very different. It is wholly devoid of affectation. Whatever be its literary merits or demerits, it always represents some genuine and usually deep-rooted conviction. It enables us to gauge the national aspirations of the day, and to estimate the character of the nation whose yearnings found expression in song. The following lines—written by Bishop Still, the reputed author of "Gammer Gurton's Needle"—very faithfully represent the feelings excited in England at the time of the Spanish Armada:

We will not change our Credo For Pope, nor boke, nor bell; And yf the Devil come himself We'll hounde him back to hell.

The fiery Protestant spirit which is breathed forth in these lines found its counterpart in Germany. Luther, at a somewhat earlier period, wrote:

Erhalt uns, Herr, bei deinem Wort, Und steur des Papsts und Tuerken Mord.

Take again the case of French Revolutionary poetry. The noble, as also the ignoble, sides of that vast upheaval were alike represented in the current popular poetry of the day. Posterity has no difficulty in understanding why the whole French nation was thrilled by Rouget de Lisle's famous song, to whose lofty strains the young conscripts rushed to the frontier in order to hurl back the invaders of their country. On the other hand, the ferocity of the period found expression in such lines as:

Ah! ca ira, ca ira, ca ira! Les aristocrates a la lanterne,

which was composed by one Ladre, a street singer, or in the savage "Carmagnole," a name originally applied to a peasant costume worn in the Piedmontese town of Carmagnola, and afterwards adopted by the Maenads and Bacchanals, who sang and danced in frenzied joy over the judicial murder of poor "Monsieur et Madame Veto."

The light-hearted and characteristically Latin buoyancy of the French nation, which they have inherited from the days of that fifth-century Gaulish bishop (Salvianus) who said that the Roman world was laughing when it died ("moritur et ridet"), and which has stood them in good stead in many an arduous trial, is also fully represented in their national poetry. No other people, after such a crushing defeat as that incurred at Pavia, would have been convulsed with laughter over the innumerable stanzas which have immortalised their slain commander, M. de la Palisse:

Il mourut le vendredi, Le dernier jour de son age; S'il fut mort le samedi, Il eut vecu davantage.

The inchoate national aspirations, as also the grave and resolute patriotism of the Germans, found interpreters of genius in the persons of Arndt and Koerner, the latter of whom laid down his life for the people whom he loved so well. During the Napoleonic period all their compositions, many of which will live so long as the German language lasts, strike the same note—the determination of Germans to be free:

Lasst klingen, was nur klingen kann, Die Trommeln und die Floeten! Wir wollen heute Mann fuer Mann Mit Blut das Eisen roeten. Mit Henkerblut, Franzoesenblut— O suesser Tag der Rache! Das klinget allen Deutschen gut, Das ist die grosse Sache.

Some six decades later, when Arndt's famous question "Was ist das deutsche Vaterland?" was about to receive a practical answer, the German soldier marched to the frontier to the inspiriting strains of "Die Wacht am Rhein."

No more characteristic national poetry was ever written than that evoked by the civil war which raged in America some fifty years ago. Those who, like the present writer, were witnesses on the spot of some portion of that great struggle, are never likely to forget the different impressions left on their minds by the poetry respectively of the North and of the South. The pathetic song of the Southerners, "Maryland, my Maryland," which was composed by Mr. T.R. Randall, appeared, even whilst the contest was still undecided, to embody the plaintive wail of a doomed cause, and stood in strong contrast to the aggressive and almost rollicking vigour of "John Brown's Body" and "The Union for ever, Hurrah, boys, Hurrah!"

Even a nation so little distinguished in literature as the Ottoman Turks is able, under the stress of genuine patriotism, to embody its hopes and aspirations in stirring verse. The following, which was written during the last Russo-Turkish war, suffers in translation. Its rhythm and heroic, albeit savage, vigour may perhaps even be appreciated by those who are not familiar with the language in which it is written:

Achalum sanjaklari! Ghechelim Balkanlari! Allah! Allah! deyerek, Dushman kanin' ichelim! Padishahmiz chok yasha! Ghazi Osman chok yasha![109]

Let us now turn to Italy and Greece, the nations from which modern Europe inherits most of its ideas, and which have furnished the greater part of the models in which those ideas are expressed, whether in prose or in verse.

Although lines from Virgil, who may almost be said to have created Roman Imperialism, have been found scribbled on the walls of Pompeii, it is probable that in his day no popular poetry, in the sense in which we should understand the word, existed. But there is something extremely pathetic—more especially in the days when the Empire was hastening to its ruin—in the feeling, little short of adoration, which the Latin poets showed to the city of Rome, and in the overweening confidence which they evinced in the stability of Roman rule. This feeling runs through the whole of Latin literature from the days of Ovid and Virgil to the fifth-century Rutilius, who was the last of the classic poets. Virgil speaks of Rome as "the mistress of the world" (maxima rerum Roma). Claudian deified Rome, "O numen amicum et legum genetrix," and Rutilius wrote:

Exaudi, regina tui pulcherrima mundi, Inter sidereos Roma recepta polos, Exaudi, genetrix hominum, genetrixque deorum, Non procul a caelo per tua templa sumus.

Modern Italians have made ample amends for any lack of purely popular poetry which may have prevailed in the days of their ancestors. It would, indeed, have been strange if the enthusiasm for liberty which arose in the ranks of a highly gifted and emotional nation such as the Italians had not found expression in song. When the proper time came, Giusti, Carducci, Mameli, Gordigiani, and scores of others voiced the patriotic sentiments of their countrymen. They all dwelt on the theme embodied in the stirring Garibaldian hymn:

Va fuori d'Italia! Va fuori, o stranier!

It will suffice to quote, as an example of the rest, one stanza from an "Inno di Guerra" chosen at random from a collection of popular poetry published at Turin in 1863:

Coraggio ... All' armi, all' armi, O fanti e cavalieri, Snudiamo ardenti e fieri, Snudiam l'invitto acciar! Dall' Umbria mesto e oppresso Ci chiama il pio fratello, Rispondasi all' appello, Corriamo a guerreggiar!

The cramping isolation of the city-states of ancient Greece arrested the growth of Hellenic nationalism, and therefore precluded the birth of any genuinely nationalist poetry. But it only required the occasion to arise in order to give birth to patriotic song. Such an occasion was furnished when, under the pressing danger of Asiatic invasion, some degree of Hellenic unity and cohesion was temporarily achieved. Then the tuneful Simonides recorded the raising of an altar to "Zeus, the free man's god, a fair token of freedom for Hellas."

In more modern times the long struggle for Greek independence produced a crop of poets who, if they could not emulate the dignity and linguistic elegance of their predecessors, were none the less able to express their national aspirations in rugged but withal very tuneful verse which went straight to the hearts of their countrymen. The Klephtic ballads played a very important part in rousing the Greek spirit during the Graeco-Turkish war at the beginning of the last century. The fine ode of the Zantiote Solomos has been adopted as the national anthem, whilst the poetry of another Ionian, Aristotle Valaorites, and of numerous others glows with genuine and perfervid patriotism. But perhaps the greatest nationalist poet that modern Greece has produced was Rhigas Pheraios, who, as proto-martyr in the Greek cause, was executed by the Turks in 1798, with the prophecy on his dying lips that he had "sown a rich seed, and that the hour was coming when his country would reap its glorious fruits." His Greek Marseillaise ([Greek: Deute paides ton Hellenon]) is known to Englishmen through Byron's translation, "Sons of the Greeks, arise, etc." But the glorious lilt and swing of his Polemisterion, though probably familiar to every child in Greece, is less known in this country. The lines,

[Greek: kallitera mias horas eleuthere zoe, para saranta chronon sklabia kai phylake,]

recall to the mind Tennyson's

Better fifty years of Europe than a cycle of Cathay.

[Footnote 109:

Let us unfurl the standards! Let us cross the Balkans! Shouting "Allah! Allah!" Let us drink the blood of the foe! Long live our Padishah! Long live Ghazi Osman! ]



"The Spectator," September 20, 1913

A British Aeschylus, were such a person conceivable, might very fitly tell his countrymen, in the words addressed to Prometheus some twenty-three centuries ago, that they would find no friend more staunch than Oceanus:

[Greek: ou gar pot' ereis hos Okeanou philos esti bebaioteros soi.]

In truth, the whole national life of England is summed up in the fine lines of Swinburne:

All our past comes wailing in the wind, And all our future thunders in the sea.

The natural instincts of a maritime nation are brought out in strong relief throughout the whole of English literature, from its very birth down to the present day. The author of "The Lay of Beowulf," whoever he may have been, rivalled Homer in the awe-stricken epithets he applied to the "immense stream of ocean murmuring with foam" (Il. xviii. 402). "Then," he wrote, "most like a bird, the foamy-necked floater went wind-driven over the sea-wave; ... the sea-timber thundered; the wind over the billows did not hinder the wave-floater in her course; the sea-goer put forth; forth over the flood floated she, foamy-necked, over the sea-streams, with wreathed prow until they could make out the cliffs of the Goths."

Although the claim of Alfred the Great to be the founder of the British navy is now generally rejected by historians, it is certain that from the very earliest times the need of dominating the sea was present in the minds of Englishmen, and that this feeling gained in strength as the centuries rolled on and the value of sea-power became more and more apparent. In a poem entitled "The Libel of English Policy," which is believed to have been written about the year 1436, the following lines occur:

Kepe then the see abought in specialle, Whiche of England is the rounde walle; As thoughe England were lykened to a cite. And the walle enviroun were the see. Kepe then the see, that is the walle of England, And then is England kepte by Goddes sonde.

A long succession of poets dwelt on the same theme. Waller—presumably during a Royalist phase of his chequered career—addressed the King in lines which forestalled the very modern political idea that a powerful British navy is not only necessary for the security of England, but also affords a guarantee for the peace of all the world:

Where'er thy navy spreads her canvas wings Homage to thee, and peace to all, she brings.

Thomson's "Rule, Britannia," was not composed till 1740, but before that time the heroism displayed both by the navy collectively and by individual sailors was frequently celebrated in popular verse. The death of Admiral Benbow, who continued to give orders after his leg had been carried off by a chain-shot at the battle of Carthagena in 1702, is recorded in the lines:

While the surgeon dressed his wounds Thus he said, thus he said, While the surgeon dressed his wounds thus he said: "Let my cradle now in haste On the quarter-deck be placed, That my enemies I may face Till I'm dead, till I'm dead."

But it was more especially the long struggle with Napoleon that led to an outburst of naval poetry. It is to the national feelings current during this period that we owe such songs as "The Bay of Biscay, O," by Andrew Cherry; "Hearts of Oak," by David Garrick[110]; "The Saucy Arethusa," by Prince Hoare; "A Wet Sheet and a Flowing Sea," by Allan Cunningham; "Ye Mariners of England," by Thomas Campbell, and a host of others. Amongst this nautical choir, Charles Dibdin, who was born in 1745, stands pre-eminent. Sir Cyprian Bridge, in his introduction to Mr. Stone's collection of Sea Songs, tells us that it is doubtful whether Dibdin's songs "were ever very popular on the forecastle." The really popular songs, he thinks, were of a much more simple type, and were termed "Fore-bitters," from the fact that the man who sang them took his place on the fore-bitts, "a stout construction of timber near the foremast, through which many of the principal ropes were led." However this may be, there cannot be the smallest doubt that Dibdin's songs exercised a very powerful effect on landsmen, and contributed greatly to foster national pride in the navy and popular sympathy with sailors. It was presumably a cordial recognition of this fact that led Pitt to grant him a pension. It would, indeed, be difficult to conceive poetry more calculated to make the chord of national sentiment vibrate responsively than "Tom Bowling" or that well-known song in which Dibdin depicted at once the high sense of duty and the rough, albeit affectionate, love-making of "Poor Jack":

I said to our Poll, for, d'ye see, she would cry, When last we made anchor for sea, What argufies sniv'ling and piping your eye? Why, what a damn'd fool you must be! . . . . . As for me in all weathers, all times, tides and ends, Nought's a trouble from duty that springs, For my heart is my Poll's, and my rhino my friend's, And as for my life it's the King's; Even when my time comes, ne'er believe me so soft As for grief to be taken aback, For the same little cherub that sits up aloft Will look out a good berth for poor Jack!

Pride in the navy and its commanders is breathed forth in the following eulogy of Admiral Jervis (Lord St. Vincent):

You've heard, I s'pose, the people talk Of Benbow and Boscawen, Of Anson, Pocock, Vernon, Hawke, And many more then going; All pretty lads, and brave, and rum, That seed much noble service; But, Lord, their merit's all a hum, Compared to Admiral Jervis!

"Tom Tough" is an example of the same spirit:

I've sailed with gallant Howe, I've sailed with noble Jervis, And in valiant Duncan's fleet I've sung yo, heave ho! Yet more ye shall be knowing, I was cox'n to Boscawen, And even with brave Hawke have I nobly faced the foe.

Perfervid patriotism and ardent loyalty find expression in the following swinging lines:

Some drank our Queen, and some our land, Our glorious land of freedom; Some that our tars might never stand For heroes brave to lead 'em! That beauty in distress might find Such friends as ne'er would fail her; But the standing toast that pleased the most Was—the wind that blows, the ship that goes, And the lass that loves the sailor!

The whole-hearted Gallophobia which prevailed at the period, but which did not preclude generous admiration for a gallant foe, finds, of course, adequate expression in most of the songs of the period. Thus an unknown author, who, it is believed, lived at the commencement rather than at the close of the eighteenth century, wrote:

Stick stout to orders, messmates, We'll plunder, burn, and sink, Then, France, have at your first-rates, For Britons never shrink: We'll rummage all we fancy, We'll bring them in by scores, And Moll and Kate and Nancy Shall roll in louis-d'ors.

It was long before this spirit died out. Twenty-two years after the battle of Waterloo, when, on the occasion of the coronation of Queen Victoria, Marshal Soult visited England and it was suggested that the Duke of Wellington should propose the health of the French army at a public dinner, he replied: "D—— 'em. I'll have nothing to do with them but beat them."

Inspiriting songs, such as "When Johnny comes marching home" and "The British Grenadiers," which, Mr. Stone informs us, "cannot be older than 1678, when the Grenadier Company was formed, and not later than 1714, when hand-grenades were discontinued," abundantly testify to the fact that the British soldier has also not lacked poets to vaunt his prowess. Many of the military songs have served as a distinct stimulus to recruiting, and possibly some of them were written with that express object in view. Sir Ian Hamilton, in his preface to Mr. Stone's collection of War Songs, says, "The Royal Fusiliers are the heroes of a modern but inspiriting song, 'Fighting with the 7th Royal Fusiliers.' It was composed in the early 'nineties, and produced such an overwhelming rush of recruits that the authorities could easily, had they so chosen, have raised several additional battalions." The writer of the present article remembers in his childhood to have learnt the following lines from his old nurse, who was the widow of a corporal in the army employed in the recruiting service:

'Twas in the merry month of May, When bees from flower to flower do hum, And soldiers through the town march gay, And villagers flock to the sound of the drum. Young Roger swore he'd leave his plough, His team and tillage all begun; Of country life he'd had enow, He'd leave it all and follow the drum.

The British military has perhaps been somewhat less happily inspired than the naval muse. Nevertheless the army can boast of some good poetry. "Why, soldiers, why?" the authorship of which is sometimes erroneously attributed to Wolfe, is a fine song, and the following lines written by an unknown author after the crushing blow inflicted on Lord Galway's force at Almanza, in 1707, display that absence of discouragement after defeat which is perhaps one of the most severe tests by which the discipline and spirit of an army can be tried:

Let no brave soldier be dismayed For losing of a battle; We have more forces coming on Will make Jack Frenchman rattle.

Abundant evidence might be adduced to show that the British soldier is amenable to poetic influences. Sir Adam Fergusson, writing to Sir Walter Scott on August 31, 1811, said that the canto of the Lady of the Lake describing the stag hunt "was the favourite among the rough sons of the fighting Third Division," and Professor Courthope in his History of English Poetry quotes the following passage from Lockhart's Life of Scott:

When the Lady of the Lake first reached Sir Adam Fergusson, he was posted with his company on a point of ground exposed to the enemy's artillery; somewhere no doubt on the lines of Torres Vedras. The men were ordered to lie prostrate on the ground; while they kept that attitude, the Captain, kneeling at their head, read aloud the description of the battle in Canto VI., and the listening soldiers only interrupted him by a joyous huzza whenever the French shot struck the bank close above them.

Finally, before leaving this subject, it may be noted that amidst the verse, sometimes pathetic and sometimes rollicking, which appealed more especially to the naval and military temperament, there occasionally cropped up a political allusion which is very indicative of the state of popular feeling at the time the songs were composed. Thus the following, from a song entitled "A cruising we will go," shows the unpopularity of the war waged against the United States in 1812:

Be Britain to herself but true, To France defiance hurled; Give peace, America, with you, And war with all the world.

The sixteenth-century Spaniards embodied a somewhat similar maxim of State policy as applied to England in the following distich, the principle of which was, however, flagrantly violated by that fervent Catholic, Philip II.:

Con todo el mundo guerra Y paz con Inglaterra.

[Footnote 110: Since writing the above it has been pointed out to me that Garrick's song was composed during the Seven Years' War (1756-63).]


Abu'l'Ala, 65

Acton, Lord, and the Turks, 80, 223, 266

Acton, Lord, on the making of history, 432

Adrianople, occupation of, 411

Akbar, Emperor, 40

Alexandria, society at, 228

Alfred the Great, 450

Algeria, French in, 250-263

Alison, 216

Alliteration, 71

Almanza, song on defeat at, 456

America and Free Trade, 134, 138

America, war with, in 1812, unpopularity of, 457

Amherst, Lord, occupies Burma, 288

Anarchy, 20

Ancient Art and Ritual, 361-371

Andrade, Colonel Freire d', 380, 383, 384

Anglo-French Agreement of 1904, 162, 167

Anglo-Saxon individualism, 15

Anthology, translations from, 72

Anthropology, bases of, 364

Antigonus Gonatas, 351

Anti-Slavery Society, 373

Apollo Belvedere, 370

Aratus of Sicyon, 358

Army reform, 107-126

Arndt, national poetry, 443

Arthur, Sir George, 123

Asoka, 355

Assouan dam, 296

Athenaeus, on dancing, 370

Attwood, Mr. Charles, 196

Aulard, M., on Taine, 430

Aurengzebe, 73

Australia, field of anthropology, 365

Bacchylides, 65

Bacon, 31

Barere, 299

Barth, Dr., on Hinduism, 88

Beaconsfield, Lord, and Egypt, 203

Beaconsfield, Lord, and Empress of India, 422

Bembo, Cardinal, 56

Benbow, Admiral, death of, 451

Beowulf, on the sea, 450

Berthier, Marshal, 279

Bismarck, Prince, on statesmanship, 251

Bleak House, 119

Blennerhassett, Lady, 427-438

Bluecher, Marshal, hallucinations of, 285

Blunt, Mr. Wilfrid, 81

Bodley, Mr., on French administration, 436

Boell, M. Paul, 418

Bolingbroke, 182

Bossuet, definition of heretic, 307

Boufflers, Madame de, 231

Brahmanism, Sir A. Lyall on, 89

Bright, John, and Disraeli, 183

British officials and parliamentary institutions, 27

Browning, Mrs., 60

Brunnow, Baron, and the Balkan States, 275

Bryce, Mr., on the writing of history, 214

Budget system, 44

Buffon, on style, 184

Bugeaud, Marshal, 257

Bureaucracy, Continental, 29

Burgoyne, Sir John, 281

Burke, on fiscal symmetry, 39

Burma, 287-297

Butcher, Dr. S, on Eastern politics, 26

Cabarrus, La (Madame Tallien), 298-306

Cambronne, 298

Campbell, Lord, Disraeli on, 186

Canada and Free Trade, 131

Capitulations in Egypt, 156-174

Capo d'Istria, Count, 271

Cardwell, Lord, 109, 116, 117, 119

Carlyle, 219

"Carmagnole," the, 442

Cavagnari, Major, murder of, 100

Cavour, 269, 272

Centralisation, 34

Chamberlain, Mr. Joseph, 244, 248

China, 141-155

Chinese labour, 147

Chinese War of 1860, 120

Chitnavis, Sir Gangadhar, 334, 335

Chremonides, 357, 358

Christianity, effect on Roman Empire, 7-19, 52, 53

Claudian on duration of Roman Empire, 1

Clinton, Mr. Fynes, 216

Cobden, Mr., 127

Cobdenism, abuse of, 328

Coleridge, on poetry, 59

Coleridge, on prose, 55

Collier, Jeremy, on Cranmer's death, 56

Commerce and Imperialism, 11

Confucianism, 143, 153

Constantinople, foundation of, 7

Constitutions in the East, 141

Cornwallis, Lord, 36

Corvee in Egypt, 396

Cory, Mr. William, 69

Cowley's translation of Claudian, 67

Creighton, 222

Crewe, Marquis of, 330

Crimean War and India, 410

Crowe, Sir Eyre, 375

Curiales, Fiscal Oppression of, 21

Curtius Rufinus, 356

Curtius, Professor, on the Greek language, 226

Curzon, Lord, on army affairs, 243

Cyprus, occupation of, 276, 413

Danton, 302, 303

Deffand, Madame du, 212

Delhi, transfer of Indian Capital to, 424

Delos, possession of, 358

Demetrius, on style, 227

Democracy and Imperialism, 23

Democritus, epigram of, 231

Demolins, M., on Anglo-Saxons, 15, 28

Demosthenes, Professor Bury, on oratory, 57

Derby, Lord, the Rupert of debate, 184

Dibdin, 452-454

Didactic poetry, 61

Dietzel, Professor, 137, 337

Dino, Duchesse de, 59

Disraeli, 177-203

Dithyramb, meaning of word, 361

Dostoievsky, 205, 210

Draga, Queen, 271

Dryden, on translation, 55

Duckworth, Admiral, 270

Dufferin, Lord, and Egypt, 25, 160

East India Company, policy of, 17

Education in China, 150

Egypt, recent history of, 253

Emerson, 54

Emerson, on inconsistency, 243

Empedocles, translation of, 62

Emu Man, 362

England and Islam, 407-415

English individualism, 30

Ennius, 345

Epicharmus, 82

Esquimaux tug of-war, 363

Euhemerism, 89

Exarch, Bulgarian, 268

Expropriation under Roman law, 41

Famines in India, 146

Farrer, Lord, on trade, 12

Ferry, M. Jules, and Burma, 290

Finance of Roman Empire, 36

Fisher, Mr., on Napoleonic Statesmanship, 436

Flag for India, 423

"Fore-bitters," 452

Forest Department, Burmese, 294

Fouche, 305

Free Trade, international aspects of, 127-140

Froude, 219

Gardiner, historian of the Stuart period, 221

George IV. and Napoleon, 282

German word-coining, 70

Gibbon and the sciences, 308

Gladstone, Mr., translations, 63

Gogol, 211

Gooch, Mr., 214

Gordon, General, and the Mahdi, 101-102

Goschen, Lord, and Disraeli, 198

Government of Subject Races, 1-53

Graham, Sir James, 192

Grant, Sir Hope, as a musician, 284

Greek adjectives, 70

Greek drama, 366

Greek joyousness, 212

Gregorovius on foreign rule, 84

Grenadiers, British, 455

Grey, Sir Edward, 168, 411, 412

Grey, Sir Edward, definition of slavery, 387, 391, 393

Grey, Sir Edward, diplomatic success of, 276

Grey, Sir Edward, on the Balkan Peninsula, 407

Griboiedof, 210

Grundy, Dr., translations, 232

Guizot, 217

Hacklaender, on European slave life, 386

Hamilton, Alexander, 138

Hamilton, Lord George, on Sir Alfred Lyall, 92

Harrison, Miss, 361-371

Havelock's love of Homer, 359

Headlam, Dr., 68

Heliogabalus, the Emperor, 299

Helps, Sir Arthur, on inaccuracy, 373

Hermann, Professor, 311

Herrick, translation of, 68

Hieronymus, 354

History, the writing of, 214-225

Hodgkin, Dr. Thomas, 1, 7, 20, 36, 347

Homer's women, 315

Humanitarianism, 378

Hunkiar-Iskelesi, Treaty of, 271

Ilbert Bill, 94

Imperial schools of thought, 10

Imperialism, Mr. Mallik on, 321

Imperialist, profession of faith of, 1

India Council, 33

India, Customs duties in, 329

India, Fiscal Question in, 327-339

Indian Frontier policy, 47-49

Indian Problems, 416-426

Indiction, Roman, 36

Ion, Dr. Verrall on, 314

Ireland, Disraeli's opinion on, 193-194

Islam, influence of, 347

Italian patriotic poetry, 446

Jaray, M., 165

Jebb, Professor, on the humanities, 308

Jervis, Admiral, 453

Judicial reform in Algeria, 258

Julian the Apostate, 353

Jute, duty on, 336

Keats, on Melancholy, 60

Kennedy, Mr., translations, 68

Kitchener, Viscount, 114, 169, 174, 255

Klephtic ballads, 447

Labour, free, at San Thome, 400

Lacretelle and Madame Tallien, 301

Lamartine, 218

Lamb on sanity of genius, 61

Land revenue system in India, 42-45

Land tax in Eastern countries, 40

Lanfrey, 218

Lawrence, Lord, Afghan policy, 100

Lawrence, Lord, Central Asian policy, 47

Lawrence, Lord, on Indian Taxation, 45

Lawson's Greek Folk-Lore, 368

Le Bon, M., on national characteristics, 429

Lear, Edward, in Italy, 142

Lecky, on morals in politics, 19

Legislation in India, 39

Lermontof, 210

Lessing and Greece, 312

Lethbridge, Sir Roper, 327-339

"Lillibullero," 439

List, Friedrich, on Free Trade, 131

Livingstone, Dr., on Portuguese, 11

Lucian, 56

Lucretius, Dryden's translation of, 62

Luther, hymn by, 441

Lyall, Sir Alfred, 77-103

Lyall, Sir Alfred, on uniformity, 350

Lycidas, Professor Walker on, 60

Lycon, the philosopher, 354

Lytton, Earl of, 99

Macaulay, partiality of, 221

MacDonald, Mr. Ramsay, 417

Mahabharata, 419

Mahaffy, Professor, 229

Mahdi, the, Sir Alfred Lyall on, 101

Mahmoud II., 270

Maine, Sir Henry, 96

Mallik, Mr., 317-326

Manchester School, Disraeli on, 194

Manipur massacres, 91

Marie Antoinette, 242

Marquardt, 216

"Maryland, my Maryland," 443

Massena, Marshal, 279

Maurice, Sir Frederick, 360

McIlwraith, Sir Malcolm, 360

Meath, Earl of, 424

Mecca, importance of, 409

Melbourne, Lord, 185

Militarism, 126

Miller, Mr., 264-276

Millet, M. Philippe, 259-262

Milner, Viscount, and Party, 237-249

Mindon, King of Burma, 289

Missionaries in China, 147

Mitford, 216

Mitra, Mr. S.M., 416-426

Mommsen, 216

Montalembert, 218

Mookerjee, Sir Rajendra, 419, 426

Moslems in India, 407

Motley, 219

Napoleon, a bad shot, 279

Napoleon and Corsica, 433

Napoleon and Count Chaptal, 349

Napoleon and the Ottoman Empire, 264

Napoleon and the battle of Vittoria, 437

Napoleon, Roederer on, 92-93

Napoleon, Taine on, 348, 427-438

Napoleon's patent of nobility, 355

Napoleon, Joseph, 437

Newbolt, Mr., 91

Nicholson, Professor Shield, 135

Nietzsche, on Greek simplicity, 227

Northbrook, Lord, 118

Novelists, political influence of, 208

Ottoman Empire, 264-276

Ouvrard, the Banker, 306

Pakenham, Miss (Duchess of Wellington), 283

Palisse, M de la, 442

Palmerston, Lord, and the Eastern question, 274

Paradise Lost and Euripides, 66

Paris Commune, 20

Party system, 240

Pauperisation of Roman Proletariat, 19

Peacock, T.L., on education, 310

Peasant proprietorship, 197

Peel, Sir Robert, 185, 190, 192

Peel, Sir Robert, on Free Trade, 199-202

Peel, Sir Robert, unpopularity, 202

Pericles and public works, 296

Pericles, metaphor of, 58

Philip II., 457

Physiocrates, 16

Pitt, on British trade, 11

Plagiarism, 65

Plato, epitaph by, 235

Plevna, defence of, 272

Poe, Edgar, 60

Poetry, Aristotelian canon, 229

Polemisterion, 448

Polish Diet, 173

Poole, Mr. Stanley Lane-, 149

"Poor Jack," 453

"Popkins's plan," 186

Portuguese in Africa, 11

Portuguese slavery, 372-406

Pouchkine, 210

Principe, Island of, 398

Prote, epitaph on, 236

Prudentius, epitaph on Julian, 353

Ptolemy Keraunos, 357

Pyrrhus, 352

Rangoon, 290

Rao, Sir Dinkur, 84

Redmond, Mr., 143

Red River campaign, 112

Reid, Mr., 340

Rhigas Pheraios, 447

Ridgeway, Professor, 365

Ripon, Marquis of, 98, 331

Robespierre, 300, 302, 303, 305

Roebuck, Mr. Disraeli on, 186

Roman Empire, cause of downfall, 7

Rome and Municipal Government, 340-350

"Rosa Rosarum," 234

Round Table, article in, 246

Rump, Herr, 152

Russian Romance, 204-213

Rutilius on power of Rome, 445

Sainte-Beuve, 217

St. Cyr, Marshal, as a musician, 284

St. Ovinus, epitaph on, 58

St.-Victor, Paul de, 57

Salisbury, Marquis of, 173

Salisbury, Marquis of, and immigrant coolies, 405

Salisbury, Marquis of, foreign policy, 101, 123

Salisbury, Marquis of, and Turkey, 265

Sappho, translation of, 67

Scott, Sir George, 291, 294, 295, 297

Scott, Sir Walter, advice to Shelley, 285

Scott, Sir Walter, Carlyle on, 219

Scott, Sir Walter, influence of his poetry on soldiers, 456

Seeley, Sir Thomas, 223

Sharaki lands in Egypt, 42

Shelburne, Lord, 182

Shelley, on translating, 59

Shelley, Lady, 277-286

Silva, Carlos de, 389, 391

Slavery, 19

Smallbones, Mr., 386, 389, 390, 391, 392, 393, 394, 403, 406

Smith, Dr. Adam, 16

Smith, Rev. Sydney, 142

Songs, Naval and Military, 449-457

Songs, Patriotic and National, 439

Soudan, campaign of 1896-98, 112

Soudan, commercial policy in, 139

Soudan, slavery in the, 379

Stael, Madame de, and Napoleon, 434

Still, Bishop, 441

Stratonice, 356

Sultans not rightful Caliphs, 409

Surgeon, the, and the soldier, 111

Swadeshi movement in India, 86

Swift, Dean, 208

Swinburne, on the sea, 449

Symmons, Dr., on blank verse, 62

Szechuan Railway Company, 151

Taine, on Napoleon, 427

Tallien, 298-306

Tariff wars, 137

Tell, William, legend of, 217

Tenasserim and E.I. Co. directors, 288

Tennyson and Euripides, 65, 81

Themistocles, saying of, 341

Theodosius, 84

Thibaw, King of Burma, 289

Thiers on French Conservatism, 197

Tiberius, 349

Tolstoy, 212

Toryism, middle-class, 196

Tourguenef, 211

Translation and Paraphrase, 54-73

Turgot on corporate bodies, 18

Turkish war-song, 444

Uncle Tom's Cabin, 208

Usury in the East, 43

Utilitarianism, 309

Vandal, M., 142

Vasconcellos, Senhor, 383, 404

Vauvenargues, 65

Venezelos, M., 269

Verrall, Dr., 312-316

Viceroy of India and his Council, 33

Voguee, M. de, 204

Voltaire, 209, 434

Waller, on the British Navy, 451

Walpole, Sir Robert, 240

War Office, 115

Wellington, Duke of, and the Ottoman Empire, 264

Wellington, Duke of, as a musician, 284

Wellington, Duke of, at Waterloo, 284

Wellington, Duke of, hatred of French, 454

Wellington, Duke of, on Cambronne, 298

Wellington, Duke of, on India, 10

Wellingtoniana, 277-286

Wensleydale, Lord, translation by, 67

Wilson, Sir Fleetwood, 332, 338

Wingfield, Mr., 402, 404

Wolfe, General, 359

Wolseley, Viscount, 107

Wolseley, Viscount, and Sir Frederick Maurice, 360

Wrede, Generals and Napoleon, 433

Wyllie, Colonel, 392, 398, 399, 401, 405


Printed by R. & R. CLARK, LIMITED, Edinburgh.

Previous Part     1  2  3  4  5  6  7
Home - Random Browse